Erna Auerbach. "Conrad Faber, or 'The Master of the Holzhausen Portraits'." Burlington Magazine 70 (January 1937), pp. 15–16, 19, 23, pl. IB (Lee version), attributes the Lee version to Conrad Faber or to an unknown, possibly Rhenish, painter, and dates it about 1525; identifies the sitter as "probably a member of the Holzhausen family, perhaps Philip vom Rhein zum Mohren"; discusses the Brussels, Frankfurt, and Lee versions of this portrait, stating that "it is difficult to say which of these versions, if any, is the original," though adding that the Frankfurt picture has always been accepted as an early copy and that the Lee and Brussels pictures are very similar.
Important Oil Paintings from the Collection of N. M. Friberg, Stockholm, Sweden, With a Few Additions from Private Collections. Kende Galleries, New York. May 18, 1950, pp. 34–35, no. 23, ill., mentions the Lee version as a separate work from the one included in the Friberg sale.
Wolfgang Brücker. Conrad Faber von Creuznach. Frankfurt am Main, 1963, pp. 24–25, 112 nn. 79–81, pp. 146, 148, 156, nos. 4a–4b, fig. 51 (Friberg version), lists the Lee and Friberg versions as two separate works, identifying the latter as having been with the dealer John Mohnen in Del Mar, California, in 1950, and previously in a private collection in Stockholm in 1949, but without mentioning Friberg or his sale; is uncertain whether the Lee version is an old copy after the original in Brussels or an autograph replica; calls the Friberg version an old but not autograph repetition and the Frankfurt version a copy; dates the Brussels picture about 1526–29 and the Friberg version to the sixteenth century and perhaps before 1550; discusses the identity of the sitter, deciding that he is either Philipp vom Rhein zum Lindwurm (1484–1537) or, more probably, his brother, Heinrich vom Rhein zum Mohren (1477–1536).
Wolfgang Brücker. Letter to Katharine Baetjer. December 11, 1983, identifies the MMA picture with the Friberg version and concedes that it may also be the same as the Lee version; dates the MMA work to the sixteenth century but does not think it is by Faber himself.
Hans-Joachim Ziemke. Letter to Katharine Baetjer. December 19, 1983, after study of detail photographs of the Friberg version made in 1949 at the Nationalmuseum, Stockholm, agrees that the Friberg and MMA pictures are identical; believes that there are probably only three versions of this portrait: Brussels, Frankfurt, and Lee/Friberg/Mohnen/MMA.
Hans-Joachim Ziemke. Letter to Katharine Baetjer. October 26, 1983, considers the Brussels picture as the original and believes that copies dating from a later time and not by Faber were probably made during the distribution of an estate; sees the Frankfurt and probably also the MMA versions as such copies, although this is a tentative opinion without having seen the MMA work itself; does not think the MMA and Friberg versions can be the same picture, since he sees slight differences between the two.
Katharine Baetjer in The Jack and Belle Linsky Collection in The Metropolitan Museum of Art. New York, 1984, pp. 105–6, no. 38, ill., calls it "an autograph replica of the Brussels portrait" and dates it to the late 1520s.
Bodo Brinkmann in Deutsche Gemälde im Städel, 1500–1550. Mainz, 2005, pp. 340–41, fig. 282, calls the Frankfurt and MMA versions copies after the original in Brussels, for which he accepts Brücker's dating of about 1526–29; identifies the MMA picture with the Lee version; favors an identification of the sitter as Heinrich vom Rhein zum Mohren.